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Word: graying (lookup in dictionary) (lookup stats)
Dates: during 1980-1989
Sort By: most recent first (reverse)


Usage:

...Haller 1-8, Cutone 3-7, Bianchi3-14, Lazarre-White 4-14, Smyers 1-6, Fletcher1-6; A--McWilliams 10-24, Mayweather 20-96,Barnett 15-72, Cass 10-69, Oliver 5-19, McMillian7-54, Thomas 4-34, Savoy 3-26, Foye 1-3, Mangin3-8, Williams 1-1, Gray 1-3, Leatherwood 1-5,Smith...

Author: By Jennifer M. Frey, | Title: Cadets Rumble Through Crimson, 56-28 | 10/2/1989 | See Source »

Despite its vast gray Soviet-style tenements and the absence of the imposing wall that enclosed it for a thousand years, Beijing strikes me as China's prettiest and most livable large city. Staggered work shifts are common, and vehicles from outside the city are banned during the day. The avenues are broader, the streets are cleaner. There are even more trees...

Author: /time Magazine | Title: A Day in The Life . . . . . . Of China: Free to Fly Inside the Cage | 10/2/1989 | See Source »

...detectives on the trail of a cool, vicious Japanese gangster (Yusaku Matsuda). Their contact in the Osaka constabulary is a by- the-book gent (Ken Takakura) affronted by Douglas' bullying. You've seen this picture before; last year it was called Red Heat. "Theft is theft -- there is no gray area," Takakura observes, and Douglas ripostes, "New York is one big gray area...

Author: /time Magazine | Title: Cinema: Bakelite In Heat | 10/2/1989 | See Source »

There are no gray areas in Ridley Scott movies; the director of Blade Runner tosses color and atmosphere into every shot. The man has never photographed a dry sidewalk in his life; the tiles have got to glisten like Bakelite in heat. Neon glyphs snake around each lurid shop sign. An ominous bike boy threads his Suzuki around columns in a Japanese mall-cathedral...

Author: /time Magazine | Title: Cinema: Bakelite In Heat | 10/2/1989 | See Source »

...which the shallow facets of the picture impinge on one another seems both provisional and immutable. But this -- let alone the far more abstracted paintings of late 1911, in which the thinnest of clues to the identity of objects (a pipestem, a playing card) swims in a vaporous gray- brown flux inflected by lines that break before they can become architectural -- is a kind of visual cohesion that has very little to do with how we actually deal with objects in space...

Author: /time Magazine | Title: Art: The Adam and Eve of Modernism | 10/2/1989 | See Source »

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